2.3 A Sense of Worthiness
2.3.2 The Concept of Dwelling
2.3.2.1 Atmosphere
The atmosphere of a place, is the mood or sense of a space that is deduced spontaneously and as a result of the simultaneous stimulation of all the perceptual systems (Zumthor, 2006).
Atmosphere and cognition of the built environment are contained in its language just as thought and understanding are to the written and spoken word. Language has at its existential core, the interconnectedness of man. Architectural language is a composite of identity or built form, orientation or organized space and building type referred to as the morphology, topology and typology of the built environment (Norberg-Schulz, 1985).
42 | P a g e Morphology
Norberg-Schulz describes the morphology of the built environment as essentially how its form is articulated through its standing on earth, its rising to the sky and the interface of external and internal experiences (1985:18). Standing refers to the treatment of walls and floors and what this says about the relationship between the building and the earth. Its verticality expresses a relationship with the sky and associative sacredness of the cosmic order; while the external-internal interaction is expressed in the treatment of openings on the facade. The built form identifies how a building exists and is defined by its morphology, constituted by the quality of its spatial boundaries.
"...The overbuilt form of a settlement interprets the site in relation to chosen socio-cultural values. Thus it embodies located human togetherness."
(Norberg-Schulz, 1985, pg. 41)
The settlement embodies the relationship between the built and natural environments and provides the platform for natural dwelling. The skyline creates one's perception of its relation to the earth and sky, thereby identify with the values it upholds. The settlement that contemplates and visualizes the existing topography takes on its unique character becoming an easily identifiable focal point in the landscape. And although the silhouette is important in identifying a settlement, it is the prominent vertical elements that make it distinct. These elements correspond to Gestalt 'figures' and facilitate identification and orientation. From a distance these elements suggest the atmosphere of the man-made environment within the settlement and from within the settlement, remind one of its inextricable connection to the natural context. This unifies the interior and exterior of the settlement just as openings do the interior and exterior of individual buildings. The centre as articulated by the verticality of the tower, is reinforced in the morphology of the settlement by its repetition in smaller scales across its composite form.
The urban space affords the opportunity to meet and interact with one's chosen environmental stimuli, fulfilling the need for collective dwelling. Continuity in the urban fabric consists of variations of clearly recognisable and characteristic themes. The continuity of the street has to be punctuated by eye-level details that articulate these common themes in varied and interesting interpretations, to create an enriched and unified built form. The wall is
43 | P a g e the primary element of the built environment. The floor of the city articulates the rhythm of the built form and acts to demarcate different zones in a symbolic gesture of boundary.
Street intersections slow movement down, encouraging choice and meeting, thereby acting as a 'quasi square'. Norberg-Schulz cites Paul Zucker as defining the public square as the built environments tool for creating communities from individuals living in close proximity with each other. The square is thereby, a contemplative space for pause and consideration of the many choices displayed along its perimeter and implied by its adjoining streets. It facilitates the goal of the settlement which is to gather. The built form bounding it being morphologically more cohesive and enriched. Horizontal rhythms are more regular and vertical elements exaggerated to evoke the central cosmic order. Regular geometric floor patterns evoke the stable and continuous connection to the earth and the unity of the square and the city. The sky which acts as a ceiling to the square is defined by the roofline of enclosing buildings. Public dwelling extends and formalises these choices in the public building, which expresses the nature of the values agreed to by a group. The facade of the public building forms the threshold between internal and external concepts of dwelling.
Formal articulation is therefore important to fulfil the explanation. The house is the domain of private dwelling where one may retreat to for personal sanctuary and reflection on one's own identity.
Topology
Topology refers to the character of the spatial arrangement of the built environment. This organised space which serves to orientate one in his environment at every level of dwelling constitutes centres, paths and domains on the horizontal plane. Topology relates to the Gestalt principles of proximity, continuity and closure.
"With a topological pattern the elements maintain a certain individual freedom, whereas the geometrical layout implies a dominant superior order."
(Norberg-Schulz, 1985, pg. 41)
The built form is also characterised by the way the settlement is grouped. Physiologically this is determined by the site and psychologically by the social context. Topology is broadly categorised into the cluster, row and enclosure which correspond with Gestalt principles of
44 | P a g e proximity, continuity and closure respectively. The intention is to use each of these spatial configurations to visualize or complement the existing site as described so effortlessly in the figure below. The man-made intervention, contemplates and visualizes the natural landscape with only a single figure to pronounce its difference.
Geometrical topologies suggest an imposed togetherness (Norberg-Schulz, 1985, pg. 41), as opposed to a natural meeting facilitated by topological arrangements. Topological organisation is inclusive of multiple cultures where geometric arrangement is an imposed and subscribed to set of principles. However, in keeping with the existential meaning of dwelling, settlements should contain both.
"A spatial figure is a form which is easily recognisable and possesses a conspicuous identity."
(Norberg-Schulz, 1985, pg.63) Urban space fulfils the need for density which facilitates meeting, while the richness of the urban milieu caters to a variety of choice. Figural qualities in this complex milieu need to be easily recognisable by contrasting in form or scale to its surroundings. This human scale is derived from the need to fulfil human-sized action. Topologically organized urban space facilitates multicultural freedom of meeting and access in the absence of an imposed geometric social order; as in the case of the colonial city grid. This freedom of association
Figure 8: Eggum Tourist Route, Snohetta (source: www.archdaily.com)
45 | P a g e and movement allows the city to make man feel secure and happy, as proposed by Aristotle, it should. A geometric square becomes profoundly more symbolic of an imposed order and choice. It evokes a mental discipline suited to the primary stages of rehabilitation, where there is a desperate need for mental order and structure. A more topological square is better suited to an expression of freedom found in the later stages of treatment when a recovering addict has come to trust himself and his own sense of responsibility through learning self- discipline. It may be said that the geometric meeting place is symbolic of fulfilling basic human needs where the topological meeting place lends itself to the fulfilling of advanced human needs so crucial to the recovery process - those of self-awareness and self- transcendence, that lead to an ability to succour others.
In terms of the Gestalt principles of spatial cognition, the domain is a cluster, the street a row and the square an enclosure. A distinct image of one's environment through clearly identifiable spatial organisation gives one a sense of purpose and belonging, thereby making the built environment meaningful. It is this inherent connection to the built environment that give people a sense of worthiness through the feeling of belonging. A positive urban image requires the presence of topological features of proximity/density; continuity/links and enclosure/centre to facilitate orientation.
"Strictly geometrical and symmetrical centres tend to disorientate as a result of the indistinct homogeneity of its parts. A combination of both a rich experience of life."
(Norberg-Schulz, 1985, pg.66) The public building orientates by forming the conclusion to the physical and philosophical wanderings of man. Spatially the house is less formally organised than the public building and intends to recognise all of the phenomena of the site. Existentially speaking, one looks from his room to an enclosed and stable garden as though looking outward and back inward.
Typology
The architectural typology subscribes to an agreed upon identity and orientation specific to its function. The built form, spatial organization and the essence of the organising social principles expressed in its meeting places, give the urban space a figurative character commensurate with a certain and agreed upon way of dwelling within it. Urban spaces
46 | P a g e facilitate collective dwelling by catering to all of the activities of a particular society, expressing its shared principles. By providing a meaningful experience of life throughout the identification of and orientation within the built environment. The urban spaces that constitute a settlement act as a precursor to the way one may dwell privately there. The house typology is difficult to determine symptomatic of its intensely personal nature.
Meaning in the built environment is a construct of the built form (morphology); its spatial organisation (topology); the principles it enshrines as an act of function (typology) and the relevance of the approach to these in the physical and historical contexts. A rehab located in the milieu of urban space offers a choice of another type of meeting in the built environment.
The aim is not a space for rehabilitation, but for identity and orientation - for meaningfulness and the opportunities for choice, personal interactions and a sufficiently dense and varied urban fabric, to cater to all of one's moods.
2.3.2.2 Four Modes of Dwelling